SAMOURAÏ COOPFiction
Short film production, web-series and original fiction — written, shot and cut by the same crew that shoots the documentaries, on the other side of the line. The scripts are ours; the whole chain stays in the company.
Short films
Fiction shorts, written in-house and produced end to end: writing, shooting, editing, grading and sound, one chain in one company. Short film production here is not a sideline — the people who shoot and finish our documentaries are the same ones on set when the work is scripted, and the discipline carries over: a fiction short is scoped, shot and delivered like any other production, not treated as a side project that never reaches the master. We develop our own scripts rather than waiting for a brief, which is why the films exist at all.
Web-series
We produce web-series: the same subjects at episode length, cut for the channel rather than the screening room. Episodic work is a different discipline from a one-off short — a series holds its look, its rhythm and its titles from one episode to the next, and the edit has to earn the next click without begging for it. The crew cuts series continuously on the documentary side, for clients, so the muscles are warm: shooting coverage you will not know you need until a later episode, delivering on a schedule a channel can rely on. Web series production, in other words, treated as production — not as content.
Breathe
Breathe is the fiction credit in the catalogue today: a short film directed by Yohann Grignou, co-founder of the studio, who also directed Gift and Best Tricks. Its black-and-white poster — an extreme close-up, eyes closed — is the one image on this page, shown as what it is: artwork at its own aspect, not a production still pretending otherwise. The film is public in full — you can watch it from the Work page. We would rather put one finished short in front of you than imply a catalogue that does not exist; the documentary side carries the volume, the fiction side carries the intent.
One house, from script to master
Fiction production gets the same company as everything else we make: writing, shooting, editing, grading and sound in-house, from development to the finished master. Camera movement comes from our own pilots and rigs — drone pilots are part of the crew, not a subcontract, and the cablecam is a system the lab develops. VFX and post-production come from the same motion-design team that works on series and features. The crew has been shooting since 2016. And because our own films are self-produced, we know the independent route first-hand: the feature documentary The Underground Sistine Chapel was funded in cryptocurrency and released free on decentralised networks.
Reading
The work, in frames
